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I saw the D5600 should be near announcement the other day! http://nikonrumors.com/2016/11/06/nikon-d5600-camera-to-be-announced-next-soon.aspx/ Yeah, it would definitely be nice to e.g. have a body with the focus motor built into it though. And maybe a mode that I believe is called 'tripod mode', where you can use the contrast based AF or just MF without the mirror flipping anyways (which the D5300 does in liveview). Not sure about 4K. Think they might pull a Canon T-series on that one (keeping it 1080p). How they use their sensor is really some of the best examples of how it's done. That's why I have the D5300 in the first place. It's just silly good. For stills on a whole other level. Also, the video looks very organic and natural and like you already noticed, great dynamic range as well. But... it isn't very nice to use. That's my gripe with it. Mirrorless has way more bells 'n whistles and Panasonic is just killing it with the video features... I wish the next Nikon was an APS-C mirrorless one. Something like the Samsung NX2 might have been...

Unfortunately, this is a camera marketed for handheld use in unpredictable shooting situations - so let's hope for a firmware solution!

Form the test I managed to do (the 50D and 5d mk2 are not yet fully supported as one every two frames is garbage), I don't see a noticable difference between 12 & 14 bits with a standard grading and a properly exposed shot. 10 bit is too noisy though.

Goddamn

Quite a bit of difference in focal length. The 42.5mm is much more restrictive I'd say, but is great as a portrait lens for example. With 30mm you're in more of a general purpose area doing a bit of everything rather well. Both have a great look to 'em though, so I'd say mainly it's focal length you've got to think about. Don't actually know about the Sigma, but the Panasonic 42.5mm isn't too terrible to use for close up shots (macro) either. Plus, before we had OIS primes restricted to Leica, now there's Lumix ones, with OIS, including the 42.5mm, so that's a real blessing. If you have a 25mm already, maybe you can skip the 30mm for now and go for the 42.5mm. If you already have a 50mm, then maybe get the 30mm. All depends what you can use the most and lends itself for your kind of shooting.

True, but cars don't magically slow down either. @Grimor, great news! Matt Frazer and the Panasonic US team always show they listen and care. Then they'll have to pull some strings to actually get something going overseas, but they really come through for us! I think they're the main reason we've seen features added on the GH4.

When all you have is crap equipment.. you make the best of it!

... the artefacts are quite characteristic of 'Temporal aliasing' but obviously some processing has been done as it does not seem to be global to each frame and seems to to be more pronounced when there is a pronounced difference in contrast from the preceding frame onto an area with less contrast. There should be a firmware adjustment that can solve the problem. (There's an interesting page on 'Red's site that helps explain temporal aliasing and their solution (hardware) in using an lcd layer between lens and capture chip that controls the light levels at a pixel level across the exposure of each frame.) It is a tricky problem though, that all digital recording devices have to deal with - the question for Canon is were in the image pipeline, can be mitigated. Assuming this is indeed the problem then in theory we can reduce it by capturing a flat but brightly lit image (reducing contrast but also pushing more of the pixel values towards the mid-point exposure value), running at a higher shutter speed and keeping camera nodal movement to a minimum (to reduce spatial aliasing). I'll also try some tests to see if I'm correct - at least in part ;-) [Link to Temporal Aliasing on Red's site: http://www.red.com/learn/red-101/cinema-temporal-aliasing]

Interesting! According to this theory, would you expect ghosting to worsen with ISO, as we have seen? Here's the latest update from Canon: I guess you could interpret this in a few different ways. I'm going with "they're fixing the firmware" for now.

This is at 3200 ISO. The area within the red box is where the noise lives!

It looks nice. The subject may have helped though.

I do not see many video professionals going full time Fuji, as of now. Maybe in the next couple of years or so. Enthusiasts, die hard Fuji funs, and upper-middle class purists and hipsters. There are a lot more specialized users, than let's say, people buying the 700$ Panasonics, or a6xxxx. The Fuji system is not cheap, it is a notch and a bit more than Sony APS-C, and a lot more than NX and m4/3 (thought, now with the new GH5 and Olympus, and the 1.2-1.4f lenses the price difference us mininal, or in favor of Fuji), while this is the first truly good camera for people doing 60/40% video, or more. The picture profiles, are existed in every image capturing device too, I like Fuji's as well, but it is not so groundbreaking as people suggest. With slight tweeks at post one can achieve similar results, and can use a picture profile, and then add a little bit of something (real super35 film grain?) or even luts. They still need a few things, but they are going there. I closely follow them and I am excited about every new product, as they seem to be the best listeners in the industry (them, and Panasonic!).

As Cinegain correctly noticed, I made it myself. I spent hours trying to find the smallest possible cable on Ebay with the flattest connector profile but no luck. At the end I trimmed the edges of two connectors to the bare minimum, soldered the cable back and used epoxy to stabilize and shield the connection. Soldering was a b*tch but definitely worth the trouble. Now I can use the EVF with the mic attached!

Let's see what the d5600 is like, the d5200 introduced "good video" to nikon, maybe we get lucky and the new one gets 4K without crop. Worst case scenario is a d5600 with 1080p only and a d7300 with cropped 4k

Looks pretty good. There is a slight green cast to the highlights (neck area) in the second clip. It might just be down to how each camera handles color balance/temp. The purple looks more saturated in the second clip. I doubt viewers would really notice either that much.

The "Horn" in this kit, (which looks like rebranded Zhiyun) https://www.amazon.com/Glide-Gear-Motorized-Mirrorless-Stabilizer/dp/B01IRLZDBE/ref=sr_1_1?s=photo&ie=UTF8&qid=1478550898&sr=1-1&keywords=glide+gear+geranos sells separately: https://www.amazon.com/BV-100-Glide-Gear-Stabilizer/dp/B00NTH7H52/ref=sr_1_1?s=photo&ie=UTF8&qid=1478550975&sr=1-1&keywords=glide+gear+horn

7 years ago. Lumix LX3 and a Zoom H2 recorder. I have since learned to (1) cut faster and (2) make proper subtitles...

Okay, eff it. Here's the first short I ever made back in '04... Shot on a Canon ZR60... https://vimeo.com/105266650 For some reason I can't get it to embed. It's probably better that way.

A nice collection of SOOC 4k shots using various lenses. Fuji's IS and continuous AF is pretty effective. Color and detail are fantastic.

Yeah, here's the silly trailer. Funny thing is, our main actor became best buds with Matthew McConaughey after our shoot while doing that HBO series with him. Oh, timing! Fair warning, this movie is pretty ridiculous. Man, to think this was a decade ago. Too many drugs, not enough script. (not me doing the drugs, the actors) Good combo? Probably not.

The Sony Vx1000 is still extremely popular in the skate community. The 4:3 aspect fisheye is wider and the model built for that is a better than any other camera ever. Really nice audio and the color has a filmy kind of highlight roll. Nice looking warm colors. Here's a piece I did, mixed with S8 and 16mm.

Mini DV can look awesome these days - as an aesthetic choice for an appropriate subject. I was recently digging through some old rushes from my Pd-170 and VX-1000, and it actually dawned on me that the 4x3 footage looked 'fresh' in a strange kind of way. I'm surprised hipster kids have not used them more for tone-poem video projects. Think the secret would be to use these older cameras on full-auto settings, to get the crappiest image possible - then to completely embrace that. It's very cheap now to buy an old hi-8 / minidv/ s-vhs camera for a suitable project (and a cheap capture card to ingest into computer). No overlays, post treatment will get higher quality footage degraded in quite the same way...it all looks fake. I'd say if you want a good looking low-fi video look...shoot it on low-fi video. Some of my favourite music videos and documentaries were shot on DV....back in the day when creativity and originality still existed.

Display units in stores are always broken and man handled in my experience. No matter what brand. No, I think they will stay on for a while still. On the still side its another story. Sony, Panasonic, Olympus, Canon, Nikon, Fuji, Pentax.... This won't last. There aren't enough customers. Samsung is not the last to go.